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Women can’t add, he once said, jokingly. When I asked him what he meant, he said, For them, one and one and one and one don’t make four. What do they make? I said, expecting five or three. Just one and one and one and one, he said.

He is the Commander, Fred, in his office with Offred, but in Offred’s mind on page 186 of The Handmaid’s Tale. The two chatted after their regular game of Scrabble, the tensions between them diminishing with each secret rendez-vous. After Offred asks about the Commander about the phrase in faux Latin, she offers to write it down. The Commander hesitates, considering whether to allow this forbidden usage of a pen or pencil, which is what pushes Offred to remember what he said about women and simple arithmetic.

Adding is the first math operation that is taught to young children, so it is statistically untrue that women cannot add. Plus, to assume that women would fail to perform at a task that is expected of small children is to diminish the skillset and value of an entire group of people. This is the first step to objectifying women. To determine (falsely) that they are simply incapable of doing certain tasks, rather than trying and being wrong. This way, they are prevented from doing anything other than whatever they assign to them, which in the case of The Handmaid’s Tale, is being silent and carrying children.

What’s more with the Commander’s statement is the implication that women are not allowed to add. They are not allowed to prove his misconception wrong. This means two things. First, the Commander and whoever else “believes” in the sentiment that women are incapable know that they are wrong. They know that their statements fail to be backed up by any scientific evidence or research, but they don’t need to care about scientific evidence as long as they maintain a faux image of power. As long as the Commanders and men keep the women oppressed, stripped of any opportunity to prove themselves and refute the Commanders’ facade of superiority. If women are given a chance, the Commanders know that they will actually thrive and excel, which means there is nothing that makes men superior, and their power becomes useless.

This phenomenon is not exclusive to The Handmaid’s Tale unfortunately. I was immediately reminded of the horror, infantilization, and verbal abuse experienced by women in the gaming community. I have personal ties to this, as my family tried to prevent me from playing video games entirely, always treating the satement, “Girls don’t play video games” as a rule. All of the girls and women in the gaming scope are treated as though they were clueless, needing a man to mansplain and guide them through the game. All of the stereotypes of girls who have cutesy, pink gaming setups who are not treated or respected as “real” gamers, and at the same time, they are reduced to being a sexually favorable woman, being subjected to all types of sexual harrassment. My friends who play combat or RPG games that are male-dominated have expressed hiding their voices or deepening it to avoid being perceived as a woman.

Further examples are in STEM fields, politics, and any argument against women in leadership. Women engineers, for example, are scarce, because of the harassment and undermining they receive. For example, when I interviewed Ms. Serenity Baruzzini last year about her experience as a woman studying engineering, she recalled a story where a male professor said the best students he’s ever had were students who said they were engineers who happened to be women, and that her identities as a woman and engineer should be completely independent of each other. Again, this shows how women being in the STEM field is so unexpected that the entire image of an engineer aligns with a man. This image excludes women and discourages them from pursuing a pathway where they could really thrive.

The last example is the argument that women are too emotional to be leaders. I’ve heard it all the time. In politics, STEM, everywhere. However, research literally suggests that women are more effective leaders. Back to the point of the Commander, it is so much easier to shut women out from these fields and claim that they are incapable, than try to justify their falseties when women are more effective than men. It’s interesting that the Commanders in The Handmaid’s Tale have to continuously oppress and reframe the ethics of their society to prove that they are right. To prove that they are superior. Even though it works in Gilead, it’s no doubt there are flaws in their logic. Especially now when the state of our nation is fragile and uncertain, it is important to remember to poke holes in arguments until they are sound. No one should be reduced, objectified, and infantlized. Oppression will not win.

In the Handmaid’s Tale, Offred and Nick both share a romantic interest in each other. Throughout the book, they exchange glances and give each other looks that say what words can’t. They’re forbidden to speak to each other, and the type of relationship they want is one that would certainly not be allowed. Despite Offred’s growing interest in Nick and him reciprocating the same, their interactions make it obvious to the reader that Offred doesn’t actually like Nick, she just craves the human connection that has been lacking in her life by being a Handmaid and seeks the rebellion that comes with it. Offred has no control over her life or her decisions. She’s forced to have intercourse with someone she doesn’t know and her husband was taken away from her. Offred’s infatuation with Nick revolved around this; she only wants him in her life for the excitement of it. In Chapter 17 when Offred goes to see the Commander, while waiting in his sitting room, she runs into Nick, who both are not supposed to be there. They suddenly embrace each other and share a kiss, something they both had been waiting for. Offred says, “Both of us shaking, how I’d like to.” (p. 98). Offred is “shaking” from the rebellious nature of it all. The excitement of being with a man for the first time since Luke is making her want to do more. She’d like to take things further and explore. This is the first time she’s been connected with a man since Luke, which is what she has been craving during her time of being a handmaid. The Commander doesn’t fulfill her any emotional needs so she’s left wanting more, extremely unhappy with her life. She hasn’t mentioned anything about what she likes about Nick or anything good about his personality. Offred is just in it for the thrill of it, understandably, since she’s been deprived of a real connection with a man. Additionally, Offred’s want to rebel is displayed even more in the next sentence. She proceeds to say, “In Serena’s parlor, with the dried flowers, on the Chinese carpet, on his thin body.” (p. 98) It shows the nature of this situation, and how dangerous it is for them to be doing this. “In Serena’s parlor” implies that Offred is proud of her actions. Serena will never know what’s happening under her nose and that gives Offred power over her. Also, “on his thin body” demonstrates her need for a physical connection and her focus on the scandalous situation going on. Again, she says nothing about what she actually likes about Nick. She barely knows him and they’ve only really exchanged looks before and they jump straight to kissing. Offred just wants to feel like she has some sort of control over her life and this is her way of doing it. Lastly, during this forbidden interaction between the two lovers, Offred says “A man entirely unknown. It would be like shouting, it would be like shooting someone.” (p.98) Offred is admitting that she doesn’t know the man before her. She doesn’t know him like she knew Luke and she feels guilty for what she’s doing. Yet, her craving to do something, to have some sort of sense of control over her life, is too strong. She knows what the worst case scenario is. For this, they could be executed, put on the Wall. She thinks she won’t mind the consequences in the moment. Offred is attracted to Nick but not for the right reasons. The shallow nature of their relationship reflects the control society had over them. They had no will of their own; people aren’t supposed to mingle like that. “It would be like shouting” means that Nick and Offred in that living room was them asking to be caught. It was such an obviously stupid thing they were doing that Offred knew she was lucky that they weren’t executed on the spot. Essentially, Nick and Offred’s relationship reflects the rebellious nature of Offred and her desires. What she truly wanted wasn’t a relationship with Nick; she doesn’t even know him, and she still misses Luke. Yet, she’s deprived of all human connection in her oppressive society, so she’ll take what she can get and get into a romantic relationship with Nick so that she can have some sort of sense of control over her life. This demonstrates the importance of relationships in our day to day lives; human connection is an important thing, and it’s crucial that we maintain those relationships in our lives in order to truly be free and happy.

In the Handmaid’s Tale, Offred and Nick both share a romantic interest in each other. Throughout the book, they exchange glances and give each other looks that say what words can’t. They’re forbidden to speak to each other, and the type of relationship they want is one that would certainly not be allowed. Despite Offred’s growing interest in Nick and him reciprocating the same, their interactions make it obvious to the reader that Offred doesn’t actually like Nick, she just craves the human connection that has been lacking in her life by being a Handmaid and seeks the rebellion that comes with it. Offred has no control over her life or her decisions. She’s forced to have intercourse with someone she doesn’t know and her husband was taken away from her. Offred’s infatuation with Nick revolved around this; she only wants him in her life for the excitement of it. In Chapter 17 when Offred goes to see the Commander, while waiting in his sitting room, she runs into Nick, who both are not supposed to be there. They suddenly embrace each other and share a kiss, something they both had been waiting for. Offred says, “Both of us shaking, how I’d like to.” (p. 98). Offred is “shaking” from the rebellious nature of it all. The excitement of being with a man for the first time since Luke is making her want to do more. She’d like to take things further and explore. This is the first time she’s been connected with a man since Luke, which is what she has been craving during her time of being a handmaid. The Commander doesn’t fulfill her any emotional needs so she’s left wanting more, extremely unhappy with her life. She hasn’t mentioned anything about what she likes about Nick or anything good about his personality. Offred is just in it for the thrill of it, understandably, since she’s been deprived of a real connection with a man. Additionally, Offred’s want to rebel is displayed even more in the next sentence. She proceeds to say, “In Serena’s parlor, with the dried flowers, on the Chinese carpet, on his thin body.” (p. 98) It shows the nature of this situation, and how dangerous it is for them to be doing this. “In Serena’s parlor” implies that Offred is proud of her actions. Serena will never know what’s happening under her nose and that gives Offred power over her. Also, “on his thin body” demonstrates her need for a physical connection and her focus on the scandalous situation going on. Again, she says nothing about what she actually likes about Nick. She barely knows him and they’ve only really exchanged looks before and they jump straight to kissing. Offred just wants to feel like she has some sort of control over her life and this is her way of doing it. Lastly, during this forbidden interaction between the two lovers, Offred says “A man entirely unknown. It would be like shouting, it would be like shooting someone.” (p.98) Offred is admitting that she doesn’t know the man before her. She doesn’t know him like she knew Luke and she feels guilty for what she’s doing. Yet, her craving to do something, to have some sort of sense of control over her life, is too strong. She knows what the worst case scenario is. For this, they could be executed, put on the Wall. She thinks she won’t mind the consequences in the moment. Offred is attracted to Nick but not for the right reasons. The shallow nature of their relationship reflects the control society had over them. They had no will of their own; people aren’t supposed to mingle like that. “It would be like shouting” means that Nick and Offred in that living room was them asking to be caught. It was such an obviously stupid thing they were doing that Offred knew she was lucky that they weren’t executed on the spot. Essentially, Nick and Offred’s relationship reflects the rebellious nature of Offred and her desires. What she truly wanted wasn’t a relationship with Nick; she doesn’t even know him, and she still misses Luke. Yet, she’s deprived of all human connection in her oppressive society, so she’ll take what she can get and get into a romantic relationship with Nick so that she can have some sort of sense of control over her life. This demonstrates the importance of relationships in our day to day lives; human connection is an important thing, and it’s crucial that we maintain those relationships in our lives in order to truly be free and happy.

Though this scene Offred is at the doctors office. The doctor checks her out and then offers her a deal to get her pregnant. In the beginning of the close read, Offred describe the process of getting undressed and the moment for the doctor enters the room. She uses phrases such as, “ When I’m naked I lie down on the examining table, on the sheet of the chilly crackling disposable paper.” [60] This gives me a connotation of being closed off and cold towards the moment. It’s clear Offred doesn’t entirely feel comfortable about the doctors office. Another phase like, “At neck level there’s another sheet, suspended from the ceiling. It intersects me so that the doctor will never see my face.” [60] This further shows the connotation of being closed off and uncomfortable. This one adds another connotation of being cut in half, that could be used as a metaphor of the lower half of her body being the only useful part of her. Since the handmaid’s only job is to get pregnant and produce a baby without defects it doesn’t matter what they look like or sounds like it only matters of they have good enough equipment. When the doctor starts his exam, there are some “ground rules” Offred explains to the reader, “He deals with the torso only” [60] This goes back to the idea of only the lower half being useful. So we learn he only exams her midbody, front the neck to the upper upper thigh. She also tells us, “He isn’t supposed to speak to me except when it’s absolutely necessary.” So this means no interactions beside part of the body or getting pregnant. I also had a side thought of “Didn’t they kill a bunch of doctors? So why didn’t they kill this one?” I was just a little confused but my question never got answered. Towards the middle of the close read, Offred and the doctor start interacting. Some red flag went off in my head especially around the words, “honey”. Something about it felt wrong even though that’s a very innocent word. I guess it comes from her being so exposed to him and him calling her something endearing. But what was more concerning is her immediate reaction to him offering her help. Her reaction was, “Does he know something, has he seen Luke, has he found, can he bring back?” [60] My first reaction to that was exactly what he was actually asking her, I knew that he was offering himself to help her and my reaction was that was disgustingly and really gross, not to mention I also think it’s illegal. He says, “It’s time. Today or tomorrow would do it, why waste it? It’d only take a minute honey.” [61] He uses the word honey again but everytime he uses it it become more and more creepy. It adds on to the connotation of the doctor being mega creepy and perverted. Offred’s next reaction after figuring out what he was actually saying was, “I hesitate. He’s offering himself to me, his services, at some risk to himself.” [61] I was proud to see that she hesitated but I was disappointed that she was thinking about the risk to the doctor before thinking about the risk to herself. He says, “It’s genuine, genuine sympathy; and yet he’s enjoying this, sympathy and all. His eyes are moist with compassion, his hand is moving on me, nervously and with impatience.” [61] ABSOLUTELY DISGUSTING! He is not offering this to help her, he is offering it for his own pleasure. He is using his power over women to get off on having sex, not to help them. He is saying, that it will help them but that’s not the true intentions behind his actions. But the best part is she said, “It’s too dangerous, I say, No. I can’t.” [61] YESSS OFFRED! I was so proud that she shit that idea down. Part of me actually thought for a second that she was going to go through with it, but I’m mega glad she didn’t. After reading this close reading, I learned the following things; Offred is an empath and care more about other people’s safety and feelings over her own. In short terms, She is a people pleaser. Doctors have the power to commit disgusting acts over their patients because they are behind close doors and that they can convince them it’s better for their health. Overall, I was very disgusted with this chapter more so because I know this stuff actually happens in real life. I’m always so surprised about how good The Handmaid’s Tale is about certain societal issues.

Reading The Handmaid’s Tale has been an interesting experience where I see many comparisons to the current state of the world and our country. Most notable is how our current government chooses to only show us the victories and successes of our nation, when, in actuality, there are many shortcomings of the United States, especially during the last few years. The Handmaid’s Tale presents one possible scenario of what could happen if we continue down this path. Our country is heading down a path of oppressing people for speaking out and having opinions that differ from the government. The censorship that the current administration is taking to silence the voices of people like Jimmy Kimmel and other late-night comedians goes to show that if we don’t stand up for our freedom of speech, we too could end up like Gilead. More specifically, in one of the early chapters of the book, we are still in a world-building phase and learning about what this new world looks like and how it operates. We learn that the government has taken over control of the news. Margot Atwood writes, “They show us only victories, never defeats. Who wants bad news?” -83 showing just how far the government has gone to control the media. Offred also asks the reader, “Who wants bad news?” This can be read as a satirical statement showing that even in these dark times, she’s trying to find humor in unlikely positions. This shows us how there is still humanity in these people who, before, were described as more one-toned people Earlier in the book, they hint at this fact of media control when they introduce the “Eyes,” who are portrayed as spies planted throughout Gilead, making people like Offred second-guess whom to trust with their inner monologues. The way margott atwood describes it makes it sound as if most people are considered “Eyes” and that they have to be careful about it. At one point in the book, Offred is talked to by an interpreter, and in her inner monologue, she says, “I know better than to look the interpreter in the face. Most of the interpreters are Eyes, or so it’s said.” (26) The ending of her saying “or so it’s said.” goes to show that even though she doesnt have any physical proof enough people believe it to be true that they listen. This, in conjunction with her fear of looking the interpreter in the face, also suggests that even though the tourist with the interpreter is unaware of the rules, the interpreter is aware of them, and if she refuses to follow them, she will be punished. This theme of not knowing who may report them continues throughout the book and resurfaces during the first Birthday, when Offred is standing next to another handmaid. They are exchanging small words about looking for other handmaids they once knew. The other handmaid asks Offred if she knows somebody whom Offred was at the learning center with, and Offred responds. “I want to tell her there was an Alma with me at the Center. I want to tell her my name, but Aunt Elizabeth raises her head, staring around the room.” (107) The reader is also then left wondering if they were in earshot of the Aunts because directly before this, Offred was asking about Moria. Now they are silent as if the Aunt had heard them and their conversation and is attempting to warn them. It’s interactions like those which make Offred and the other handmaids watch what they say and who they talk to. We never learn if Offred tells the other handmaid that she knows of Alma or that they were at the Center together. This type of world-building and questioning allows the reader to build their own story within the larger narrative of The Handmaid’s Tale. Thought these first few chapters of The Handmaid’s Tale. The reader is exposed to various types of world-building and character introductions that help establish a foundation for what we might continue to see throughout the book. Specifically, we are shown how conflicted Offred is on who to trust and who may be a spy; it’s that style of writing that keeps the reader interested in how this plot may progress. Additionally, we continue to see that if the United States continues to limit free speech and the will of the people, this book may become less far-fetched.

Title about nothing By Rafael Torok

I’ve had an interesting experience within this class. I wanted to care about this book, and I wanted to care about the class. But I soon realized that it didn’t matter whether I got an A or a B. It didn’t matter if I really cared about the book. So why try? It seemed like a fool’s errand. I don’t feel this way anymore. I realized that to look at it that way is foolish and cowardly. You can’t live a life if your philosophy is designed to remove you completely from any sort of meaningful connection to this world. This has become clearer than ever in my reading of The Handmaid’s Tale by Margaret Atwood.

There have been times in my life when I have felt similar to Moira, a character in the book. Specifically, I am referring to how she feels and acts during the section in which she plans an escape from the compound they were being housed in. Of course, it was not nearly to the same extent as she. However, the base desires were similar. I have been in a situation where I needed to do something disastrous for the long term in order to fulfill my needs in the short term. Sometimes, though, the thing I do, which is beneficial in the short term, is actually beneficial in the long term as well. It’s just bad in the medium term. For example, writing an essay at one in the morning. It’s good for my grade in the class, but it leaves me as an empty shell, unable to do anything useful the next day. What does it actually mean? Best case, I get an A in the class instead of a B. Whoop-dee-doo. What does that get me? A fraction of a percent higher chance of getting into any particular college. After that, nothing. I am reminded of the discussion Offred has with Moira on pages 89 and 90. When Moira first mentions that she’s got to escape, Offred immediately feels panic. She believes it will result in negative consequences. Moira doesn’t. She doesn’t really think it matters. Like Moira, I was tempted into thinking that this class doesn’t matter. I thought it was a boring waste of time. Similarly, it seems to me that Nihilism is an appropriate philosophy to look at the book through. Do the events of the book matter? Many would be drawn to answering no. Humans are leaky blobs of chemicals that are not conscious. Our brains are a collection of neurons tricking each other into doing math. Either everything with a brain is conscious, or nothing is. If you can’t tell, I’m on the latter side for the purposes of this paragraph. If no one on earth is conscious, then there is no reason to do anything. There is no suffering; suffering is an illusion made up by evolution to stop you from killing yourself. There is no pain; pain is a hoax made by your brain to stop you from getting yourself killed. I’ve always seen the appeal of nihilism. If embraced fully, it is the freest one can get. No responsibility, no morals, and no hope burdening you. However, I believe that it is a foolish way to look at the world. Its main philosophy rests upon a non-falsifiable axiom. We cannot prove whether or not human beings are conscious. If we assume they are not, nihilism becomes almost the default. If they are, then all of the other philosophies are still on the table. I know this is a logical fallacy, but I think we should choose the world where good people can exist. We should choose the world in which there is a reason to care.

Lagunas-Peso Pluma Throughout the book, Offred is constantly being haunted by her past. Her memories are now just constant reminders of what she could’ve had and of the things she wishes were still real. She craves the connection she once had with her loved ones, “I want her back, I want everything back, the way it was. But there is no point to it, this wanting.” (122) But she is aware that the likelihood of even getting to see them is low. But perhaps in another life, or another galaxy, she could’ve lived out her life the way she had planned/wanted to. Lagunas, though its main focus is on romantic heartbreak and not systemic oppression, it is similar in the way the artist reflects back on past relations. Ideas of what could have been, just like our character, Offred, float around in his mind, hence the name “Lakes” or “Lagoons.” These two situations are connected in the sense that they both use memories as ways that continue to develop. They both reflect on the possibilities of what could’ve been if things had turned out the way they had planned, but maybe for them, it’s in another galaxy.

Let Down- Radiohead Another song that could resonate with the situations and characters of Margaret Atwood’s novel is Let Down, released in 1997. Both of these pieces of media capture the silent despair of being contained in a world that tends to strip away any sense of individuality or identity. Offred frequently feels helpless throughout the book to the point where she detaches herself from her body and identity, “I’m a cloud, congealed around a central object, the shape of a pear, which is hard and more real than I am…” (73,74). And, in Gilead, her every move is constantly being monitored and controlled by others, causing her to feel powerless and disappointed, much like how the songs describe the overwhelming heaviness of having to endure the constant routines that often lead to disappointment. But, similarly to the previous song, she not only uses her memories and beliefs to keep herself sane but also to give herself hope, “Someone must be out there, taking care of things. I believe in the resistance as I believe there can be no light without shadow; or rather no shadow unless there is also light. There must be a resistance…” (105). Though she might feel “hysterical and useless,” at the moment, she still has the desire and hope to be free, much like how the artist does as well; “One day, I am gonna grow wings…”

Good Looking- Suki Waterhouse Both of these pieces of media explore themes of intimacy and tension between relationships that are constructed by circumstances. Offred is often reflecting on her memories of love and affection and compares them to how her situation is today, where any close and genuine relationship is forbidden under Gilead. As she reflects back on her relationship with Luke, she thinks about the possibilities of his current situation and what he could be feeling, “I believe Luke is… I also believe that Luke… Any day now there may be a message from him…The message will say that I must have patience: sooner or later he will get me out…, that keeps me alive, I believe in this message…. Does Luke hope?” (106). Likewise, Good Looking transmits the bittersweet feeling of closeness and detachment in relationships. And the lyrics, “You’re not who you are to anyone/to anyone/you’re not who you are to anyone/to anyone, these days, I’m not who I am to anyone/no, not me at all/I’m not who I am to anyone these days/not at all,” mirror how Offred is feeling in this moment. She knows she isn’t considered a person anymore, and she suspects that Luke isn’t considered one either.

Amor Eterno- Rocio Dúrcal This song, released in 1984, is about grieving, about what could’ve been done to prevent misfortunes. Offred is unaware of the state that her daughter is in, and given the circumstances, she assumes the worst. She often thinks about her loss, and it is something that haunts her constantly. “I can see her, going away from me, through the trees which are already turning, red and yellow, holding out her arms to me, being carried away… Of all the dreams this is the worst” (75). Similarly, the artist thinks about her current situation and talks about how she wishes she could’ve done something to prevent the tragedies she faced, “Cómo quisiera, ay/ Que tú vivieras/ Que tus ojitos jamás se hubieran/Cerrado nunca y estar mirándolos/ Amor eterno/ E inolvidable/ Tarde o temprano estaré contigo/ Para seguir amándonos.” Similarly to the artist, she and Offred want to return to her loved ones. Offred makes it clear that even though her daughter was taken away, there is still some part of her that knows or believes that she will be reunited with her and things will go back to how they were; “ She’ll remember…and we will be all three of us together.” (106).

Homesick- Wave to Earth The song Homesick is not just about wanting to return home, but about how certain events led the artist to feel held back and disappointed about his situation, even though the artist just wanted to chase his dreams. Offred is also feeling her own sense of homesickness. She mentions how she yearns for freedom, for identity, to be valued as a person, and to be free from the restrictions set in Gilead, “I want to be held and told my name. I want to be valued, in ways that I am not; I want to be more than valuable. I repeat my former name, remind myself of what I once could do, how others saw me.” (97). The song acknowledges a similar feeling through the lyrics, “Erase me from here and set me free/All I wanted was to fly high/I can’t believe my wings are broken/And fell against the sky”. Both the artist and Offred express a great desire to be able to escape their circumstances, but because of things beyond their control, they’re forced to be confined and are met with disappointment. Offred, as much as she wants to be erased from Gilead, can’t be, her “broken wings” symbolizing her denied freedom.

https://docs.google.com/document/d/1YkxNzs9013DN-Llx3NYKAHPOEI-ehrW1sUuZVC6CUJc/edit?usp=sharing

In chapter five of The Handmaid’s Tale, there is a long list of rules and restrictions governing the women in Gilead, especially the Handmaids. These rules shape the mind of the women, altering the perception of their own freedom. The clothes they wear make them walking signifiers of their “status”, as well as removing their individuality and controlling their visibility. One way this society makes sure to maintain women’s compliance is by banning reading and writing. These rules are so decided that even small acts of disobedience turn into what everyone else sees as a major defiance. All of this sums up to the manipulation of freedom. The rules are justified to the Handmaids as if they’re made so that they have a “choice”, when in reality they do not.

Handmaids are always dressed in red and white, which marks their fertility and their role. This way of dressing, Offred refers to as a habit, making this seem like an ingrained custom. “Some people call them habits, a good word for them. Habits are hard to break.”(24) This quote suggests that the clothing is not just uniform, but a way to force a habit onto the women. The white wings are a restriction of sight, which can be seen as both physical and intellectual limitations, preventing them from seeing the outside world as well as not allowing them to think freely. The rules governing their interactions on the street are strict. They always have to stay in pairs, not speak unless absolutely necessary, and keep their heads down. This instills isolation from each other, forcing them into a state of surveillance and distrust.

Having the ability to read and write is a powerful tool in maintaining ignorance. The store signs in the town are now pictograms. This visual prohibition is a constant reminder of the control over women’s access to information. They treat women as illiterate and incapable of making independent decisions or thoughts. The goal behind this is to make them seem or feel incompetent of making choices, with this it allows the higher ups to further keep them brain washed. Offred often talks about the loss of control, something as simple as handling or earning your own money gets taken away. “We use tokens for food, not money, money has been deregulated.” She reminisces on her past, thinking about the laundromats, where she had “my own soap, my own money, money I had earned myself.”(24) These simple acts have been stripped away due to Gilead’s rules.

The handmaids try to maintain an independence, because the opportunity for it is so slim already, they take the risk of or think of taking the risk of breaking the rules. A very big rule the handmaids have is no contact in any way with anyone, and Offred eventually breaks this rule. This society suppresses and prohibits all forms of a woman’s personal relationship, it makes it seem as if something as small as eye contact is an act of resistance. Gilead seeks to control the handmaids’ bodies as a function. They dehumanize these women so much and act as if they are machines made solely for the purpose of reproducing. Gilead doesn’t want to control the handmaids’ bodies, they also want the power to control their thoughts and memories. This is the rule we see Offred constantly breaking, she often has a constant flow or memories reminiscing on her past life. This is a strong example of how Gilead has the ability to restrict the body, but they have not been able to master the mind.

Before all these rules Aunt Lydia described Gilead as “freedom to”, but now it is “freedom from.” The idea of freedom is now twisted in a way to make the handmaids believe they have been saved from all the bad things in society, but what it really does is take away their ability to choose. “There is more than one kind of freedom. Freedom to and freedom from. In days of anarchy, it was freedom to. Now you are being given freedom. Don’t underrate it.”(25) “Freedom to” would be when women had the freedom to choose their clothes, jobs, and partners. While they had this freedom they were still exposed to sexual harassment and violence. “Freedom from” would be the positive benefits, women have freedom from fear, unwanted attention, and the pressure of objectification. Gilead stretched the dangers of before so much so that they can make it seem like all of this is for the protection of the women, when really it instills power, control, and tricking the handmaids into accepting oppression in exchange for a false sense of security.

I feel a lot of sympathy for the women in this story, I can’t imagine what it would be like everyday to live under the control of someone else. Having the right of choice taken away is insane to me or being forced to forget your old life is something I never want to imagine. When the author writes scenes of her having memories with her child and husband, having her freedom, and the pain of losing her family and basically her whole life taken away, I can feel the impact and emotion brought up with it.

In Aaron McGruder’s The Boondocks, the character, Lord Rufus Crabmiser, says a line that heavily reminds me of the current position of women of Gilead: “ The only thing a crab is good for is holding back other crabs. A crab doesn't want to see another crab make it.” Margaret Atwood’s depiction of Gilead is only possible with the acceptance and collaboration of other women to oppress each other. This is most prominent in a chapter of the book, in which Offred is forced to participate in the ritualistic shaming of Jasmine, another handmaiden in training. It's one of the most outright depictions of the ways that the women in Gilead are trained to blame each other

” Her fault, her fault, her fault, we chant in unison. Who led them on? Aunt Helena beams, pleased with us. She did. She did. She did. … Teach her a lesson. Teach her a lesson. Teach her a lesson”(72)
The handmaids, including Offred, all shamed Janine for events that she was clearly a victim of; it was obviously not Janine’s fault for being raped, but in the new culture of Gilead, she is at fault. The Aunts who are indoctrinators for the Handmaids are paramount to constructing his style of culture within Gilead. Their main goals are to create an environment in which handmaids have no trust between each other and do not have the solidarity to stage any disruptive activity, as well as to normalize the degradation of their bodies into vessels for men to impregnate. This undoubtedly uncomfortable scene is so spot on when it comes to the discourse that surrounds women whenever they come out as victims of rape. Atwood is practically bashing you over the head with the comparisons of Janine and female victims in real life.

Janine, finally broken from the constant derision of her most traumatic experience, broke down and admitted that it was her fault. Even the clear victim in this case eventually became brainwashed into thinking that it was her own fault. In a lot of ways, it's deeply realistic as many people are brainwashed to admit that the traumatic experience that they where subjected to was their fault. 

“That was last week. This week, Janine doesn’t wait for us to jeer at her. It was my fault, she says. It was my own fault. I led them on. I deserved the pain. Very good, Janine, says Aunt Lydia. You are an example.” Atwood’s depiction of Gilead is so radical that it has set up a system of industrialized victim-blaming, in which the handmaids give in to the reactionary demons inside their own heads. Demons that have their roots in the ugliest parts of American culture and its destructive ideas on women’s rights. They were taught that Janine’s pain and, subsequently, all of the pain that she would feel at the hands of men was justified.

Throughout the flashback, it’s very apparent how women are pitted against each other; however, what stands out even more than that is the way Atwood portrays them. Up until this point, Offred had been discussing the red centers in very neutral terms, as she rarely questioned the authority of the Aunts or the guards outside. Offred primarily blames herself for partaking in the group shaming. This feeling of learned helplessness permeates the pages of The Handmaid’s Tale as all of the women are forced to live in conditions that were made against their freedom. Now the only “freedom to” is the freedom to survive, and survival is just a synonym for submission.

In just this short section, there’s a booming microcosm of what America has eroded into. a fascist state in which sister is turned against sister, Aunt against niece. a state that shames women for being promiscuous when they get raped, yet simultaneously forces women to give birth as slaves, a contradiction that reinforces female bodily autonomy. By far the darkest part of Gilead is that it isn’t a detached science fiction Empire, or a piece of ancient history, but it is America. Atwood’s depiction of America takes place in the 1980s. coming out of a decade of police brutality, crackdowns of anti-war protests, and COINTELPRO. She barely even had to exaggerate when it came to the top-down complete domination of the government that we see throughout the book, something that also reflects in the culture. The Handmaid’s chant of “her fault” Is echoed throughout American Halls of power.

https://docs.google.com/document/d/1-r-jE_QOFmL6P5GGWpseBseNNlqE2x8lzIaUVsjAJ4c/edit?usp=sharing

God´s Plan - Drake

Book Quote ¨Nolite te bastardes carborundorum. ¨

Song Lyric: ¨Might go down a G.O.D. I go hard on Southside G¨ Drake

Drake’s God plan reflects the tension between fate and resistance that runs through The Handmaid’s Tale. The Latin phrase carved into Offred’s closet Don’t let the bastards grind you down ‘becomes her Mantra or survival. Similarly, Drake frames his entire path as both guided and personally defiant, pushing through obstacles with faith and persistence. His lyric about God’s plan resonates with Gilead’s obsession with religion and Destiny, but it takes it to another level through its perspective. The regime claims authority; however, her survival is on her own quiet resistance. While Drake’s Anthem celebrates success and blessings in the novel, it becomes ironic that God’s supposed plan is twisted into control. This mirrors Red’s resilience on memory solidarity and hope that can carry her forward, and a system that was made to break her down.

Wicked Games- The Weeknd

Book Quote: ¨When we think of the past, it’s the beautiful things we pick out. We want to believe it was all like that.¨ Chapter 23

Song Lyric: ¨Bring your love, baby, I could bring my shame.¨ Offred’s longing for her past her husband, her child, and her freedom contrasts with the shame that is imposed on her body by Gilead. The Weeknd’s confession of brokenness and using love as an escape aligns with Offrend’s moments of passion with Nick. It is love as rebellion, sex as survival, and memory as the only anchor. Atwood’s quote about remembering only the “beautiful things” mirrors how Offred clings to past intimacy with Luke, yet uses Nick as a present refuge. Like the song, her sexuality becomes both freedom and burden, a wicked game she cannot fully win but cannot abandon either.

Bad Religion- Frank Ocean

Book Quote: ¨Better never means better for everyone… it always means worse for some.

Song Lyric: ¨if it brings me to my knees, it’s a bad religion.¨

Frank Ocena’s song about unrequited love directly connects to Gilead’s corrupted theology. Religion has become the justification for oppression. Frank’s refrain about kneeling to ¨bad religion¨ becomes a beautiful metaphor for the forced prayers, ceremonies, and rituals that strip women of power. It’s a cry but also a critique of faith warped into oppression. Offred recognizes the lie in the Commander’s claim that their new world is “better.” For the women, this faith is not salvation but oppression. The song’s aching tone reflects Offred’s inner conflict: faith should uplift, but in Gilead it becomes a prison disguised as holiness.

Haunted- Beyonce

Book quote: ¨we were the people who were not in the paper.¨ Chapter 10

Song Lyric: ¨ I know if I’m haunting you, you must be haunting me¨

This track captures Offred’s constant feeling of being watched by the eyes of the commander and other handmaids. However, it also speaks to how the past haunts her. Her husband, Luke, and her daughter are like ghosts in her mind, haunting her daily existence. Beyoncé’s eerie delivery captures the tension between desire and fear that rules life under Gilead. Also, Beyoncé’s lyric about mutual haunting reflects the way Offrend and the system are locked in an unbreakable relationship. She resists silently, but Gilead itself haunts her every thought. The eerie tones of the song mirror the suffocating atmosphere of the novel, where silence, whispers, and the wretched eyes define existence.

Freedom Beyonce: Book Quote: “Better never means better for everyone… It always means worse for some.”

Song Lyric: “I’ma keep runnin’ Cause a winner don’t quit on themselves.”

Beyoncé’s Freedom embodies the resilience buried within The Handmaid’s Tale. The commander justifies Gilead as a better society, yet Offred realizes that this so-called progress is built on suffering. Beyonce’s lyric, ¨Imma keep runnin’ cause a winner dont quit on themselves, ¨ resonates as a rallying cry for the handmaids who endure oppression while holding onto fragmenst og hope. Though stripped of names, voices, and rights, they resist destruction by surviving. The rhythm of the song mirrors the suppressed march of women forced into silence. Offred’s daily acts of remembering her daughter, narrating her story, and finding moments of love echo Beyoncé’s refusal to surrender. Lines like ¨im telling these tears, go and fall away¨ capture the determination to endure the pain without letting it define identity. In Gilead, grief is constant, yet persistence is a form of rebellion. Kendrick Lamar’s verse about breaking chains directly parallels the Handmaid’s reality. Though trapped in ritual and law, they dream about freedom, cutting themselves loose. Beyoncé’s repeated cry ¨freedom Freedom I can’t move cut me loose!¨ becomes an anthem of all women in Gilead, always being silenced, controlled, but not broken. It is the sound of endurance that turns into resistance.

The loud, almost alarming energy of “Sirens” by Black Panther instantly makes me think of the Red Center, where Offred and the other women are brainwashed at the start. In Chapter 13, there’s the scene where Janine is forced to confess her gang-rape was her own fault. Offred describes, “Her fault, we chant in unison. Who led them on? She did. Who was bad? She was” (p. 72). That chanting is terrifying, and the song’s beat feels the same way like a constant alarm that doesn’t stop. Just like real sirens warn us of danger but also freeze us in fear the women’s voices drown out Janine’s individual voice until she has no choice but to agree. This track captures how Gilead uses fear and noise to control people, making it hard for anyone to think for themselves or break away.

“New Kind of Love” – Imogen Heap

This soft, almost dreamlike song connects to Offred’s flashbacks of Luke, her husband from before Gilead. She tries to hold onto the memory of their closeness, but it feels fragile, like something fading away. In Chapter 11, she remembers her body differently than she once did I used to think of my body as an instrument, of pleasure, or a means of transportation… Now the flesh arranges itself differently. I’m a cloud, congealed around a central object” (p. 73). Imogen Heap’s ghostly voice mirrors how Offred clings to the idea of real love, but in Gilead, love doesn’t exist like it used to. Instead, there’s only survival, power, and forced reproduction. The title itself, “New Kind of Love,” is almost ironic because Offred’s new reality is about anything but love. Heap’s song underlines the difference between the warm, messy memories of before and the cold, controlled version of relationships in Gilead.

“Same Script, Different Cast” – Whitney Houston

Whitney’s song could be Serena Joy’s personal anthem in the early chapters. The lyrics are about a woman warning another woman about a man who hasn’t really changed, even if he has a new partner. Serena’s whole life reflects that bitterness because her marriage to the Commander is hollow. In Chapter 8, Offred remembers Serena’s past as a televangelist: “She doesn’t make speeches anymore. She has become speechless. She stays in her home, but it doesn’t seem to agree with her. How furious she must be, now that she’s been taken at her word” (p. 45). Serena used to argue that women should stay in the home, and now she’s stuck in the same cage she built. The song title “Same Script, Different Cast” perfectly shows how men like the Commander keep running the same pattern—using women, then replacing them. Serena knows it, but she can’t change it, which makes her resentment grow even more.

“The Other Woman” – Lana Del Rey

Lana Del Rey’s vocals match Offred’s role as the Commander’s secret partner. In Chapter 16, during the Ceremony, Offred describes, “My arms are raised; she holds my hands, each of mine in each of hers. This is supposed to signify that we are one flesh, one being. What it really means is that she is in control” (p. 94). Offred is caught between being the Commander’s mistress and being completely powerless. She’s literally “the other woman,” but not by choice. Later, when he sneaks her into his study to play Scrabble (Chapter 23), it feels like the song fits again. Even when she admits, “I want to be here, with him, here, so badly. I want to be held and told my name” (p. 112), she knows she’s being used. Lana Del Rey’s song captures that confusing mix of guilt, desire, and hopelessness that Offred feels in her double role.

“The Girl with the Tattoo” – Miguel

Miguel’s song is the perfect match for Moira. Confident, bold, and unforgettable, she is the “girl with the tattoo” who keeps fighting back against Gilead’s control. In Chapter 22, Offred remembers Moira’s daring escape from the Red Center: “Moira had power now, she’d been set loose, she’d set herself loose. She was now a loose woman” (p. 133). Miguel sings about a girl who leaves her mark, and that’s exactly what Moira does for Offred. She becomes a living reminder that resistance is still possible, even in a world designed to crush it. Just like the song admires the girl’s strength and mystery, Offred admires Moira for being the one who refuses to disappear.

Closing Thoughts

These five songs echo beneath the surface of Atwood’s world. Black Panther’s “Sirens” captures the terror of indoctrination. Imogen Heap’s “New Kind of Love” mourns how intimacy has been twisted. Whitney Houston’s “Same Script, Different Cast” channels Serena’s bitterness. Lana Del Rey’s “The Other Woman” mirrors Offred’s role as the Commander’s hidden partner. Miguel’s “The Girl with the Tattoo” celebrates Moira’s courage. Music might not exist in Gilead, but thinking about these songs proves something important no matter how strict the silence, voices still find ways to break through.

Living in Gilead and following its strict societal rules will definitely take a toll on anyone living there. We don’t see a lot of talk about mental health throughout the book, and I think this is because they were being brainwashed and don’t want to let ideas of health get into anyone’s head. We do get some insight into how Offred copes with her world. Chapter 23 starts with Offred lying in her bed, contemplating. “This is a reconstruction. All of it is a reconstruction. “ (134) I interpreted this as her talking about the society as a whole, and how the Martha’s influence the girls to think in a certain way. They show them things from the world outside of Gilead to push them into thinking that they are in a better place, doing things the right way. They’ve been trained to believe that intimacy is a crime and that their only purpose as women is to have children. I found it interesting how she cuts herself off in her thoughts and redirects herself. It’s like she’s snapping out of her thoughts. “If I ever get out of here- Let’s stop there. I intend to get out of here.” (134) This quote stuck out to me in this chapter because it reminds me of a phenomenon that we discussed in class, Meta-narration. This is when, in a book or a song, they break the fourth wall, or call their life a story, or sing a song. It’s interesting because she starts on a topic, then interrupts and corrects herself, exactly like how someone would think in the moment. This shocked me because the rest of the book has been her thoughts, but she hasn’t slipped up or had a moment like this before. I also see a little character growth or reflection from her in a sense, she explains an idea that happened earlier in the book. “But if you happen to be a man, sometime in the future, and you’ve made it this far, please remember: you will never be subjected to the temptation or feeling you must forgive, a man, as a woman.” (134) This made me think of when the handmaids listened to Janine’s story about her experience with sexual assault, and they shamed her for it and said it was her fault. She had to apologize for existing in a way, for ‘tempting’ the men. They yell at her and say it’s her fault. But I don’t think this is her feeling sorry; I think it’s her noticing patterns and reflecting on where she is in this society.

“But remember that forgiveness too is a power. To beg for it is a power, and to withhold or bestow it is a power, perhaps the greatest.” (135) Upon reading this, I first wondered if this is her way of being positive about her situation, or just her honest view of things. She’s referencing herself and the handmaids as the ones withholding the power, the power being fertility and birth. Offred mentioned this powerful idea earlier in the book, too; she is trying to find some sense of control in her situation by acknowledging that this society does need her. On the other hand, when she mentions bestowing that power, she’s referring to the commanders and how they have the ultimate power. But also, in general, there is a power struggle that shows up in different ways. I do wonder what specifically she’s referring to when she says that to beg for forgiveness is a power, maybe the ability to reach someone after wronging them, or it’s something about hope. “Maybe none of this is about control.” “Maybe it’s about who can do what to whom and be forgiven for it.” (135) I notice her talking a lot about forgiveness in this chapter, which confuses me. I wonder if she feels like she can forgive the people who put her through all of this, or if she’s talking about forgiving the commanders and the wives. I believe she sees that no one else really wants to conform to the rules they have set up for them, which we saw during the ceremony. I wonder if there’s a specific person she wants to forgive, or if this isn’t about forgiveness, and it’s just her thinking about her place in society. I also think part of her really wants to find hope for herself and is actively looking for a way out.

Chapter 23 of The Handmaid’s Tale is an interesting scene, with lots of complicated dynamics and emotions at play. There are a lot of things that can be drawn or deduced from this chapter, which is why I chose it to write a reader response to. The first thing that grabbed my attention from this chapter was the complex power dynamic in this story. There are tons of examples of this throughout this book, but almost none are as clearly defined as when Offred herself gives a quote that says that the word of The Commander could be taken above the word of the law. Another thing that I noticed was that this chapter did good at highlighting the extreme manipulation that goes on during this chapter. This obviously was clear throughout the entire book, but there were a few quotes in this chapter that described it very well for analysis.

The complicated hierarchy of this story came into play a lot in this chapter, and that was the main thing that I would say made the events of this chapter especially conflicting for Offred. One example of this is the game of Scrabble that her and The Commander play together. There are multiple rules that would have technically forbade her from participating, like the fact that women are not supposed to read - and this was not only an issue that would have fallen on her, but also The Commander, as he invited and encouraged her to play with him. Offred knew these rules, and she noted when he invited her that she shouldn’t accept, but the reason she decided to anyways was because “to refuse to see him could be worse. There’s no doubt who holds the real power.” Even though there was legislation in place, The Commander’s word is scary enough to Offred to convince her to do as he said. For me, this raises some questions about corruption within this already corrupt system. The commanders, or people with more power than them, could potentially use this power to further their own personal interests, or to help the women in the system. Although I honestly don’t expect any of the commanders or other officials to turn against the government, it would be a very interesting plot twist and is something that this situation makes me think about.

The power dynamic in this book isn’t just complicated in its layers, but it’s also extremely manipulative. This is obvious at almost every point in the book from start to end, but it’s also made clear in this chapter, and there are a few quotes that are especially clear about it. “But if you happen to be a man, sometime in the future, and you’ve made it this far, please remember: you will never be subject to the temptation or feeling you must forgive, a man, as a woman. It’s difficult to resist, believe me. But remember that forgiveness too is a power. To beg for it is a power, and to withhold or bestow it is a power, perhaps the greatest control.” This quote from earlier in the same chapter is a great example of this intense emotional manipulation that the women in the Gilead society face. Offred is reflecting at the start of this chapter before the scene where The Commander asks her to kiss him. She talks about how sometimes, the women in this novel are tempted to feel bad for or forgive the men, as hard as she tries to resist. The use of the line “you will never be subject to the temptation or feeling you must forgive, a man, as a woman,” helps to further her point, making it clear that this is an issue that women specifically face, and one that a man couldn’t comprehend. This is a pressure that her and all of the other women who are forced to be handmaids, wives, or other subordinate roles tot he men feel, and in the end even though it is a trauma that they are going through, they are left feeling like they should feel guilty or regretful, as if they are at fault.

https://docs.google.com/document/d/14HaPEnaxf3PrdqhjwEmBZnpqJ40kpuWvnvrydWiW13o/edit?usp=sharing

Creep by Radiohead was the first thing I thought of when I was introduced to this assignment. Creep is a song about people not being in their right bodies for themself and feeling alienated or foreign, the lyric to the song is, “I’m a creep, I’m a weirdo, what the hell am I doing here, I don’t belong here.” In the Handmaid’s Tale, page 61, it says, “My nakedness is strange to me already, my body seems outdated.” This tells the reader that not only does Offred feel that type of way but others might too. These handmaids are put here against their own will, making them feel like this couldn’t be real to them and feeling like they have failed. Offred doesn’t seem like she liked the position she is in and making women have babies against their will just because of this dystopian society. This makes me think of how someone can not be able to feel their body, like they don’t belong in the world but stuff like this helps the reader understand why sometimes it feels like this because, in this case, she’s alone. The next song on my list is Human by Christina Perri. She sings about how we are only human meaning nothing like this should ever have to happen to someone or anyone shouldn’t have to experience anything that makes them feel not right with their own bodies. She makes the song feel like we should all be helping each other and not working against each other because humans are the only living species that can talk to each other, learn, help others ,and we all have flaws. The lyric says, “But I’m only human, and I bleed when I fall down.” In the Handmaid’s Tale, page 94, Offred is having the ceremony and says, “Close your eyes and think of England but this is not England, I wish he would hurry up.” This just shows that this will and maybe break her later. The next song is The Night We Met by Lord Huron. He sings a song about someone in his past who we felt deeply connected to and I can infer that they fell apart and he would love to meet again the way they did. While reading the Handmaid’s Tale, she keeps having dreams and flashbacks of Luke and herself. “Luke was there, behind me, I turned to see him, he won’t look at me… the bell awakes me, and then Cora, knocking on my door… wipe my face with my sleeve. Of all the dreams this is the worst,” page 75. Offred wishes she can know if Luke is still alive and if she can see him again. The lyrics to the song says, “I don’t know what I’m supposed to do, Haunted by the ghost of you, take me back to the night we met.” I think this part of the song resonates with her and Luke’s relationship well because Offred was his mistress and she really felt like he was the one for her. The next song is You Don’t Own Me by Lesley Gore. This one is self explanatory. The song just means that they are allowed to do whatever they desire and no one shall tell them not to. In the Handmaid’s Tale once again I said this but they are being held there against their will and not being able to do stuff freely. In this song it says, “You don’t own me, I’m not just one of many toys, You don’t own me, Don’t say I can’t go with other boys.” This one connects with the third song and the second song in this essay because the people who run this dystopian society don’t get to tell them what they should do or who they should be with. Once again the reader understands the circumstances for the handmaids but the commander has to have intercourse with the handmaids so they can have a baby but she does want a baby just not with the commander. The last song is IDon’tWannaBeYouAnymore by Billie Eilish. This one is also self explanatory and also resonates with the first song. The meaning behind this song is that she is unhappy with the current state she is in and sees other people doing the things she wants to do but she doesn’t feel like she is made to do those things. Offred knows she wasn’t made to be put in a society where they are forcibly taking action on women to have kids. The lyric says, “If tear drops could be bottled, their be swimming pools filled by models, told the tight dress is what make you a whore, If I love you was a promise, would you break it if your honest, tell the mirror what she knows she heard before, I don’t want to be you anymore.” This is about gender and how people talk about women and that people are insecure and by looking in the mirror people see their insecurities. This also relates to the first song about not being in your body.

When I read “The Handmaid’s Tale”, I keep coming back to how deeply unsettling it is to witness the way Gilead controls women’s bodies through what they would consider ritual. When I read chapter 16, pages 93-95, I felt a strong wave of discomfort, not only what happened in the Ceremony itself, but the way it was presented. As something normalized, ritualized, and even sanctified. The theme that struck me most powerfully while reading this chapter was the “Control of women’s bodies through ritualized violence”, In other words, Dehumanization. Atwood shows how intimacy and sexuality can be stripped away and replaced with mechanical obedience, and as a reader, I found myself deeply unsettled by how ordinary the characters treated it. That unease is, I think, the point I am meant to feel is the wrongness, even as the people within Gilead act as if it were normal.

The Ceremony is described with chilling simplicity. Offred lies on her back, her head is resting on Serena Joy’s lap, while the commander performs his duty. The scene is clinical, almost boring in its lack of passion. Offred acting in a way of a surrogate for the commander’s wife and himself. It is not an act of love, but an act of ownership. The commander’s position gives him power, Serena Joy’s presence is a reminder that Offred is nothing more than a Surrogate, as I stated briefly, an act of ownership and not love but Offred herself is reduced to a Vessel. What brings more discomfort to me as I read is how ritual transforms an act of violence into something the Society can call holy. Reading pages 93-94, I couldn’t stop thinking about how this ritual functions as a disguise. The Ceremony is rape, but because it has been codified into a monthly event, because it is framed as duty, because it is wrapped in the language of religion, it becomes “normal”. The normalization is what unsettles me the most. It’s one thing to imagine violence happening in secret but it’s another to imagine a whole society sitting quietly in it, repeating it and believing it to be righteous. It made me think, how much wrong can we overlook if it is dressed up as tradition?

What also makes this section uncomfortable was Offred “voice”. She doesn’t describe the event with anger or open horror. Instead, pages 94-95, she detaches herself, narrating in short, almost factual sentences. At first, I wanted her to feel a sense of rage and wrongfulness or to even resist, but then I realized that her detachment is her survival. She has no choice but to endure, and her mind protects her from pulling away. This forced me to confront the reality of her lack of power. It also makes me think of how people under oppressive systems often have to distance themselves from their own experience just to survive because they lack control, control of themselves, their bodies.

Another part of this chapter that made me feel uneasy is that Serena was involved, the commander’s wife. She sits behind offred as this “ritual” occurs, holding her hands, her body arranged to mimic a mother embracing a child. On the surface, this is supposed to show solidarity, but I felt it as a layer of cruelty. Serena Joy’s touch does not comfort, it reinforces Offred’s role as property. It is disturbing to see one woman helping to enforce the system against another, and it reminded me of how power can divide women against each other instead of uniting them.

The pages around these scenes also force me to think about intimacy itself. Offred remembers her past life with Luke, the warmth and passion they once shared. Those memories are painful for her, but also for me as a reader, because they highlight what has been stolen. Knowing what real intimacy can feel like makes the ceremony even colder. This contrast brought me sharp discomfort. The idea that a government could completely erase personal freedom that even love becomes a crime. What lingers most is the realization that this ritual is not an isolated act but part of a system. This is not about one commander, one wife, or one Handmaid. It is about the entire structure of Gilead, a structure that can make something so obviously brutal feel ordinary. That, more than anything, is what makes it concerning to read. Atwood reminds me that oppression doesn’t always come as open violence. Something it comes dressed as tradition, as duty, as ritual and once people accept that disguise, they stop questioning it. Laws that limit women’s autonomy, practices that disguise control as morality, and traditions that tell people their bodies are not their own. Atwood’s writing is disturbing because it feels too close to reality. After reading chapter 16, pages 93-95, forces me to see how ritual can normalize violence, how language can mask cruelty, and how easily people can adapt to its injustice if it is repeated often enough.

Atwood’s The Handmaid’s Tale is a world without music, where silence itself becomes a tool of control. Yet by pairing the novel’s themes with real songs, we can hear what Gilead works so hard to suppress. Each track below captures a moment or motif, giving voice to characters who are otherwise silenced.

“Sound of Silence” – Simon & Garfunkel This song reflects Offred’s private inner world, where her thoughts become her only freedom. The lyric “people talking without speaking” mirrors how Handmaids must suppress their voices while secretly holding onto memory. Offred explains: “We were the people who were not in the papers. We lived in the blank white spaces at the edges of print” (p. 57). Silence, here, is both a prison and a form of survival.

“Every Breath You Take” – The Police Often mistaken for romantic, this song’s obsessive watching fits Gilead’s surveillance. The Eyes operate with constant visibility: “Under His Eye” (p. 57). The song’s refrain, “every step you take, I’ll be watching you,” echoes the suffocating feeling of being observed at all times. Even intimacy is turned into control.

“Caged Bird” – Alicia Keys Inspired by Maya Angelou’s poem, this song embodies the longing for freedom. Handmaids are the caged birds, forced into obedience but still carrying memory. Offred reflects: “I want to be held and told my name. I want to be valued, in ways that I am not; I want to be more than valuable” (p. 112). Like the bird, she sings inside her cage, holding onto her sense of self.

“Strange Fruit” – Billie Holiday Holiday’s haunting protest song against racial violence parallels Gilead’s public executions. Offred describes the bodies on the Wall: “It’s the bags over their heads that are the worst, worse than the faces themselves” (p. 43). Just as “strange fruit” became a warning to maintain order, Gilead uses death as spectacle to control the living.

“Resistance” – Muse This song highlights love as rebellion: “Love is our resistance, they’ll keep us apart and they won’t stop breaking us down.” Offred’s relationship with Nick becomes her act of survival and defiance. She admits, “I tell him my real name, and feel that therefore I am known” (p. 270). In Gilead, where identity is erased, love becomes a radical force.

By imagining these songs inside Gilead, we restore sound to a world stripped of it. Each track voices silence, surveillance, memory, violence, and resistance—reminding us why music is dangerous to dictatorships. Atwood shows us that even when voices are muted, the desire for freedom finds its rhythm.

Even though there is no music mentioned in the book Handmaid Tale, certain songs resonate with many characters, themes, and moments throughout the book. Even though these songs aren’t mentioned in the story, they fit in perfectly with the songs resonating with themes of freedom, relationships, love, and loss.

https://www.youtube.com/watch?v=FV9dXEFP-Hk

To start it off, one of the first songs I think would fit into the book is the song ¨The World Isn’t Far ¨ by Randy Newman. This late 1990s song talks a lot about how the world is really unequal, and how people in power still continue to benefit while the people who look at them as leaders get left behind. I believe that theme matches perfectly with the society in ¨The Handmaid’s Tale¨ where women are forced out of their control into strict roles and have no freedom to their own, just like the song. Newman’s lyrics in the song were a bit sarcastic and ironic, especially for the time, which was talking about how some people reflect how systems of power are built to keep certain people on top. Gilead does the same thing, only it hides injustice behind religion and “morals.” As Offred says, “We were the people who were not in the papers. We lived in the blank white spaces at the edges of the print. It gave us more freedom. We lived in the gaps between the stories.”

https://www.youtube.com/watch?v=OYB1rbL8EHo

Another song I believe connects to the novel is “You Don’t Own Me” by Lesley Gore. Written in the 60´s, this song boldly declares a woman’s independence and refusal to be controlled by a man. In the story ¨The Handmaid’s Tale¨, women are not treated with care and freedom, with no rights over their bodies or their futures. Offering internal struggles and quiet acts of defiance mirror the song’s demand for autonomy. As she admits, ¨I avoid looking down at my body, not so much because it’s shameful or immodest but because I don’t want to see it. I don’t want to look at something that determines me so completely.¨ This moment shows how Offred has been reduced to nothing more than her body, something she no longer feels ownership over. Gore’s song becomes an anthem of resistance in this context, capturing the longing for self-determination that runs throughout the novel

https://www.youtube.com/watch?v=NRtvqT_wMeY

“Runaway Train” by Soul Asylumn reflects Offred’s sense of helplessness early in the novel. The line says, “wrong way on a one-way track,” mirrors her life in Gilead, where every escape feels impossible. She longs for freedom, admitting, “I want to steal something, want to feel something, even if it’s only the sound of breaking” (89). The imagery of missing children in the song also connects to her grief over losing her daughter, stolen by the state. Throughout the chapters we have been reading, the main protagonist, Offred, circles back and reminisces to memories of her child, describing her as both painfully close and impossibly out of reach. Like the train in the song, her life has gone off course, her family ripped away, her choices gone. The haunting mood of Soul Asylum’s track captures the despair of being stuck in motion but never moving toward freedom.

https://www.youtube.com/watch?v=vfpgpf6QVnI

This heavy metal song ¨ Symphony of Destruction ¨ by Megadeth, is a good example of how Gilead manipulates his people. The lyrics describe leaders pulling strings while citizens act “like puppets.” This parallels the Commanders, as Offred notices how easily power can twist human behavior: “Nothing changes instantaneously: in a gradually heating bathtub you’d be boiled to death before you knew it” (56). Just like the song’s warning, Gilead reshaped society step by step until people were trapped without realizing it. The Aunts orchestrate obedience with chants and violence, creating a system where cruelty feels normal. Gilead disguises destruction as stability, conducting society like a “symphony,” where women are reduced to instruments with no voices of their own. Megadeth’s intensity reflects the hidden violence beneath the calm rituals, reminding us that order can be its own kind of chaos when power goes unchecked.

https://www.youtube.com/watch?v=W-Khe7DInxo

Phoebe Bridgers’s quiet, melancholic song ” Scott Street¨ fits Offred’s reflective moments. The lyrics about memory and emptiness echo her flashbacks to life with Luke and her daughter. Offred recalls: “We were the people who were not in the papers. We lived in the blank white spaces at the edges of the print. It gave us more freedom” (57). Like the narrator, she looks back on ordinary moments with bittersweet longing. Even something as simple as walking on a city street or chatting with a friend now feels like another lifetime. Bridger’s kind of quiet or muted voice mirrors Offred’s tone as she remembers laughter, intimacy, and freedom that are gone. The sadness of the song contrasts with her present silence, telling us that memory itself becomes a kind of act for survival. Her longing is not only grief, it’s a quiet rebellion against forgetting.

https://docs.google.com/document/d/1mkjPQdH83hNWVf_mQ58HaRbhXR9bVVHm-CsPXAdYDlY/edit?usp=sharing

Take Me to Church - Hozier Obviously, the topic of religion is a substantial motif in The Handmaid’s Tale, i.e., the passage from the book of Genesis, the common phrases spoken by the handmaids, the Bible reading during the ceremony, etc. This track highlights the irony of twisted Christian faith, how oftentimes instead of forgiving others, we are prone to resort to hate and violence even though we know better. I think the scene that best captures this is in chapter eight, when the priest is hanged for breaking the rules.

Nude - Radiohead There are countless things that are out of our control–how should we respond to such a terrifying thought? Is it even worth the attempt to take matters into our own hands? Although many events throughout Offred’s life are permeated by the themes of this song, none quite evoke equivalent raw emotion as the recurring dream where her daughter is taken from her. I think the most haunting aspect of this scene is the sheer helplessness of the situation, and the fact that there is not a moment of hope where you might think that the two of them will succeed in their escape. Margaret Atwood presents obstacle after obstacle in this dream: Offred’s daughter slowing the two of them down, the cold water that they’ll have to eventually cross, the bullets whizzing past them, but never are we given a reason to believe that this story might end well. It’s a downhill slope from where it began. It’s also worth mentioning how gorgeous this track is. Not to suggest that this part of the book is particularly pleasing, but the sequence is dreamlike and separate from reality, “I feel calm and floating, as if I’m no longer in my body; close to my eyes there’s a leaf, red, turned early, I can see every bright vein. It’s the most beautiful thing I’ve ever seen.”(75) So it pairs well with a listening experience that has such a heavy emphasis on abstraction.

Paranoid Android - Radiohead “The woman sitting in front of me was Serena Joy. Or had been, once. So it was worse than I thought.” (16) I’m not sure why, but I associate this song with big revelations, like a shocking discovery of information that you wish you’d never known. I find it to be very haunting and foreboding. Years ago, a very close friend of my parents was arrested and sent to prison for a serious crime. I’m not sad that he’s no longer close with my family, it was just an eye-opening period for me, but what bothered me most at the time was coming to the realization of how oblivious I’d been to who he actually was. That’s how this song makes me feel, and I imagine Offred was experiencing the same when she met Serena Joy.

How to Disappear Completely - Radiohead The requirements of the handmaids involve stripping themselves of all things that make them human, because they are not counted as human beings anymore, there’s no practical reason that they should be treated as such. They have no friends or family, no one to be authentic with, and nothing to do when they have nothing to do. And the pure fact that the handmaids are crucial to their society is not sufficient to give them a feeling of purpose, “Waste not want not. I am not being wasted. Why do I want?”(7) The title ‘How To Disappear Completely’, admittedly, is a bit on the nose, but the contents of the song provide a great deal of depth to what the name might imply. Like Nude, it’s a track with few lyrics, however I find it to be more tragic than Nude and even more beautiful. How to Disappear Completely deals with shame, it’s about the desire to possess the ability to vanish from places where you can’t find comfort. This shame is reflected in the way the sound is designed, it’s almost as if the music is trying to leave but it hasn’t quite found a way out yet. And this is what I believe the handmaids like Offred are dealing with all the time, not solely the fact that society has essentially made them invisible, but a feeling that their lives would be easier if they were not seen or acknowledged by anyone at all.

All Falls Down - Kanye West “But we can do it, a little at a time, a quick move of the head, up and down, to the side and back. We have learned to see the world in gasps.” (30) It’s easy to forget how good we have it, that is, until we no longer have it. In chapter ten, Offred tangentially mentions what music is like in her life, but the ways she experiences it is rather pathetic; “Sometimes Rita will hum, while kneading or peeling: a wordless humming, tuneless, unfathomable. And sometimes from the front sitting room there will be the thin sound of Serena’s voice, from a disc made long ago and played now with the volume low, so she won’t be caught listening as she sits there knitting.” (55) Desperation for something means that its value is increased no matter how abundant. But some people have the ability to do the best with what they’ve got, and that’s enough for them.

https://docs.google.com/document/d/1NQI_8IhHbl6gCZJ_h1jVuoAuOF_-s1uUogXCDELjhF4/edit?usp=sharing

https://docs.google.com/document/d/1STluIA_NiS0f82qxYLMbxLMaucHw3ScorKrSbNWGQ0M/edit?usp=sharing